lifeblood: listlogs: 1998v01n112-news

ig-news-digest        wednesday, june 24 1998        volume 01 : number 112

today's subjects:
  [ig-news] rolling thunderpussy revue       [just jill <>]
  [ig-news] old interview                  [carolyn <>]
  [ig-news] more on dented cans            [carolyn <>]
  [ig-news] setlist: sunday lilith at the gorge  [elizabeth groff <egroff@wo]
  [ig-news] sound deal--> indigo girls poster and flyers for sale (fwd)  [sh]


date: tue, 23 jun 1998 00:54:32 pdt
from: just jill <>
subject: [ig-news] rolling thunderpussy revue

[sherlyn's note: this message was originally sent to the indigo
girls mailing list at]

rob wrote:
>a local
>publication also verifies plans for the rolling thunderpussy revue to
>clubs late this summer into early fall.

being that rob's also an ohioan, i'm guessing he saw the write-up in
scene magazine ('northeast ohio's entertainment weekly') that carol and
i found.  here's what it says:

(in the grapevine column)
"...speaking of lilith, the venerable estro-fest may have some
competition this summer-- from the indigo girls.  co-headliners of last
summer's lilith, indigo girls amy ray and emily saliers are putting
together their own version this summer-- the delicately titled rolling
thunderpussy review.  so as not to compete directly with lilith-- on
which the girls will still appear this year-- the thunderpussy tour will
be a late-fall, largely east coast affair..."

(them durn baigls get all the luck)

get your private, free email at

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date: tue, 23 jun 1998 07:37:05 -0700
from: carolyn <>
subject: [ig-news] old interview

[sherlyn's note: thanks to carolyn for this.  this is an old
article but might be of interest to some of you.  it was
originally sent to the indigo girls mailing list at]

february 13, 1988 -- creative loafing

musicians 'at home in atlanta' band together for our house
the indigo girls spearhead a benefit concert in an effort to break the cycle
of homelessness

by tony paris

"you have to wake up and be at the soup kitchen at 7 in the morning to get a
good meal, or, you
have to be at the construction site early in the morning to get a job. you
either get to eat, or you get
to work," amy ray of the indigo girls says, describing a basic plight of the
homeless. "then, if you
have a kid, that's another choice you have to make." that is, you either
eat, work, or take care of
your child.

"the children's issue is a pretty big deal," ray continues. "people don't
understand it because you
don't see a lot of kids walking around the street that you can tell are
homeless - and you don't see
the babies, either." but according to a report by the homeless task force in
atlanta, children under
6 make up the fastest growing population of homeless people in metro atlanta.

atlanta has one homeless day care center, the atlanta children's shelter, in
downtown atlanta, but
it's facilities are not adequate to accommodate the multiplying numbers of
children who have
nowhere to go during the daylight hours when the night shelters are closed.
to combat this problem,
our house, inc., a non-profit day shelter for homeless children in dekalb
county, is preparing to
open in march to meet the needs of the 50 to 60 children living in the seven
night shelters in the
dekalb area. but there is an immediate need for funds to renovate the
building our house will
occupy on columbia drive. to that end, the indigo girls (amy ray and partner
emily saliers) have
organized a benefit concert to raise money for the completion of the day

"kids have a place to go at night," ray notes, "but they don't have anywhere
to go during the day.
they can go to the soup kitchens, but their parents still have to be with
them," which means the
adults are unable to go look for jobs. "with our house, the homeless will
have someone to look
after their children as well as help them find jobs," the musician explains.
one of the features of our
house will be an on-duty counselor who will help find jobs and housing for
the adults, if they don't
have them, so that when the kids have a place to stay, the parents will be
able to go out and look for

"this is supposed to break the cycle so that, if the children have somewhere
to stay, and their
parents can get a job, they [the children] can learn the work ethic - that
they are supposed to work
and stay off the street," says ray. "that's the main idea of this shelter,
to break the cycle. that's why
we're interested in it."

the benefit the indigo girls have organized is being billed as "at home in
atlanta." in addition to
their own performance, those scheduled to appear include michelle malone,
kevn kinney of drivin
'n' cryin and caroline aiken, who will open the show. but it won't stop
there. a number of other
atlanta musicians and singers have agreed to participate, and will be
dropping in throughout the
evening. ray says the reasons their names are not being added to the bill is
to avoid confusion, since
the special guests will not be performing full sets, but playing one or two
songs or jamming with the
featured artists.

"we want it to be a musician's community project," she emphasizes. "we want
everybody who
wants to be involved, involved in it." among the other musicians who've
expressed interest in playing
at the benefit are gerard mchugh, angela motter, rache alpert and buren
fowler, with others
from atlanta and athens probably showing up.

benefits are nothing new to the indigo girls. indeed, in their 4-year
existence, they have lent their
names and talents to numerous causes, a gesture not to be taken lightly
considering the following
they have built in this city with the release of a single, an ep and, most
recently, an album, strange
fire, which radio listeners cannot avoid hearing if the dial is tuned to
album 88, wras-fm.

meeting with them one afternoon last week, however, i found that saliers and
ray - the bill they
performed under for three years prior to ray's coming across the world
"indigo" in the dictionary -
did not want to talk about themselves too much. what they wanted to do was
make sure people
were aware of the upcoming "at home in atlanta" benefit.

in talking with them, it's obvious they've built a long- standing friendship
and respect each other as
people and as musicians. they can joke with each other one moment, finish
each other's sentences
the next. and as much as they're often described as two totally different
types, ray (the outspoken
extrovert rocker) and saliers (the quiet, introverted balladeer), the two
women proved themselves to
be more alike than not.

they started the conversation by discussing their benefit work.

ray: we do about eight or 10 major benefits a year. plus, we do smaller ones
at emory.

saliers: we're doing one in chapel hill for the appalachian service project
and habitat for
humanity. we're supposed to play at a rally at the end of february for the
homeless. everybody's
focusing on that. it's kind of neat.

ray: except...

saliers: the overkill?

ray: yeah. but doing benefits is good. it's one night that you would have
had off, or you would have
played for money but, big deal. we'll do any benefit that seems worthy.

saliers: if you're busy during the day and you don't have a lot of time to
do volunteer work, or if you
don't have a lot of money to make contributions, it's the musician's way to
make a contribution. it's a
social responsibility. i hope that social responsibility hasn't gotten
trendy, but people do things from
their hearts.

ray: we are real adamant about this benefit, about who plays. everybody that
plays has a part in
the promotion of it and in helping do the dirty work, like putting up
posters. everybody's got to help.
it's the only way that you can feel like you're doing a benefit. someone who
just shows up and
plays, that's no big deal. so we are using everybody in some way to help in
another way -
announcing at their shows, passing out fliers, any way to help out.

creative loafing: what do you think of this new wave of social
responsibility among bands?

ray: i think some of it is jumping on the bandwagon, and some of it is a
reaction against reagan...

saliers: ...and things seem to be getting worse as the nuclear age grows
older and political tensions
continue to mount. there've always been things like that, but they seem to
have been escalating

creative loafing: do you think your audiences respond to your benefits and
go away with a better
knowledge of whatever you're playing for?

saliers: we have a pretty sensitive and socially aware audience.

ray: i'd say 50 percent of them walk away with a real knowledge of why they
came. i mean, a real
understanding and a real concern when they may not have had it before.

saliers: the fact that they even buy the ticket shows that they're thinking
about it, when they could
spend two bucks and see us at another place in this town, but they're
willing to spend 10 bucks.
that is, if they are just coming to see us, not including all of the other
musicians who are so
wonderful to come play.

ray: also, i think people underestimate the masses sometimes. i mean,
everyone's not stupid, and
they are going to know why they are there. i think people pick up on it,
through subtle mentions like
handing out pamphlets at the door, not necessarily giving lectures from
onstage, but having each
person mention something about it without being too overbearing.

creative loafing: people always refer to the polarities in your music and
personalities. do you agree
with this yin and yang overview? do you think it works to your advantage?

ray: i don't know. maybe it works to our advantage, but there's a lot more.

saliers: people just take what hits them in the face, and a lot of those
general descriptions are what
might hit someone in the face if they came to see us for the first time.

ray: but we're really a lot more alike than we are different, probably.
aren't we?

saliers: as people, we are.

ray: i mean, in values...

saliers: yeah, values. musical tastes. they are different, but people play
up on those differences. i
think it's been to our advantage.

ray: it's been to our advantage, but you get sick of it being the main deal.
we're supposed to be a
unit. we're really different, but, we want to be thought of as a unit. but
it's come to the point where
every article separates us. i guess we really are different, onstage and
with our music, so i guess
that's why it happens. but then, it's hard, if you write a song in the other
person's style. people start
expecting things of you.

saliers: even though people play up on those differences, i think the bottom
line is that even though
those differences are so blatant, something comes together in the performance.

ray: our live show is the main thing. if someone listens to the record and
has never seen us live,
they're not going to understand. they may think the record's real good or
something like that, but i
don't think anyone's going to understand the energy unless they've seen us
live. that's the biggest
problem that hits us. live, it shows you how two totally separate styles of
songwriting can work
together. i don't always scream and shout, and emily doesn't always sing
ballads. we do what each
other does, too.

saliers: yeah, that's the only problem with those comparisons and differences.

ray: on our albums, it may not come out, or it may be produced in such a way
that everything kind
of blends, instead of people seeing the energy that pops out. emily's real
energetic, and nobody ever
says emily hops around on stage. she dances around as much as i do.

saliers: one article made it sound like i was in my own world.

ray: yeah, like she just sits in a chair while i do cartwheels on stage.
both of us put energy into this.

creative loafing: the two of you do everything on your own, don't you? you
do a lot more than
just play onstage.

ray: we like being in control of our own destiny; i think that's why we're
doing it. it does take a lot
of time, but we don't want to make a big deal out of it. the only reason why
we do it is because i'm
obnoxious and i don't like anybody else to do anything. i always tell emily
that if we don't do it
ourselves, it's not going to get done. that's a really bad attitude,
but...i'm getting over it. i'm learning
how to loosen up, from emily teaching me.

saliers: but, you know, the more you have control over your situation, the
less you want to give up
any of that at all. even the bigger it becomes, the less you want to give
up. especially if you feel like
you're at a critical point in your career, which i feel we are. i mean, i'm
not in a hurry to get a record
deal, but it would be nice to know how record companies respond to this music.

ray: when we got the album, we mailed it out to about 250 stations between
the two of us. then
we did the follow-ups. and we mailed 'em out to the press to try to get
reviews. and bookings,
we've always done our own bookings. we've done it ourselves, but a lot of
people have helped us a
lot with information. you know, musicians giving us a list of clubs, people
telling us which trade
magazines to approach.

saliers: there's always stuff to do. every day.

creative loafing: you don't have day jobs?

ray: no. but we aren't rich or anything. you know how when you're a musician
and you start
making a living from music, people start thinking you're commercial? they
kinda look down on you?
i was kind of having that feeling this year, like people knowing i didn't
have a day job, and kinda
feeling like we were riding high because they see how many people come out
to our shows at the
pub, but it's not really like that. we lose money on the road.

saliers: i don't feel guilty about making money. i don't feel guilty about
being able to pay my bills.

ray: when you start doing well, though, people think that you're selling
out. i mean, no matter if you
don't change or not. i mean, we haven't changed any.

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date: tue, 23 jun 1998 19:57:46 -0700
from: carolyn <>
subject: [ig-news] more on dented cans

[sherlyn's note: this message was originally sent to the indigo
girls mailing list at]

i received this from the radio station:

the price for the "dont' eat out of dented cans"  is $25.00 + $2.50 per
album for shipping & handling.  for more info on the album, check out the
goodies section of our website at

thank you,
kai aiyetoro

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please send feedback, questions etc to
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date: tue, 23 jun 1998 23:11:39 +0000
from: elizabeth groff <>
subject: [ig-news] setlist: sunday lilith at the gorge

[sherlyn's note: this message was originally sent to the indigo
girls mailing list at]

setlist: sunday, june 21 at the gorge

three hits
scooter boys
get out the map
chickenman with sinead o'conner
it's alright
shed your skin with natalie merchant's trumpet player
        (a woman!! --sorry i couldn't hear amy when she introduced her)
water is wide with sarah mclachlan and sinead
rockin' in the free world with k's choice
closer to fine with everyone who had played/sang with them so far;
        sarah had one verse, tara mclean had another and the trumpet player
filled in for sara lee's pennywhistle solo

the bass player's name is dave richards.
as philip already noted, jane scarpantoni was playing cello.
and of course, jerry marotta on drums.

while i can't speak for those with reserved seating in sections a and b,
i do know that ig got a standing ovation for every song from the folks
in section c because we stood for the entire performance-- i think this
is a fair measure of how glad we were to see/hear them.

as for how beautiful it is at the gorge amphitheatre (in eastern
washington), i think amy must have been in similar places when she
wrote: "everywhere i turn all the beauty just keeps shaking me."


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date: wed, 24 jun 1998 16:49:20 +1000 (est)
from: sherlyn koo <>
subject: [ig-news] sound deal--> indigo girls poster and flyers for sale (fwd)

hey folks,

i found the message below on the newsgroup
(  please note i know nothing about
this company, so buyer beware...

- -sherlyn

from: (a sound deal)
subject: a sound deal--> indigo girls poster and flyers for sale
date: tue, 23 jun 1998 22:07:05 gmt

we have the following posters and flyers for sale
as well  as a wide selection of posters, flyers. and handbills
from 1967 to the present. check us out at
or see our post at for the full list.

indigo girls   6-30-97 at mesa amphitheatre,mesa,        $3
indigo girls   4-13-95 at toledo masonic     $4
indigo girls   8-26-96 at mesa amphitheatre,mesa,        $3
indigo girls   2-4-98 at union hall,        $3
indigo girls   1-30-95 at uno arena,new  $4
indigo girls   1-30-95 at  uno arena,new   $6

all paper items are identified by band name, date of show,
concert hall, city, size, printing format, and price.
printing formats are: "printed,""silkscreen," and "xerox,"
format is  original xerox unless otherwise noted.
"photo" indicates photo of the band is the main image on the handbill.
"split flyer" refers to more than one band headlining on same flyer
page numbers with kozik posters refer to "man's ruin, the posters & art of
frank kozik"

all are originals and are guaranteed to be in vg+ condition or better.
$5 minimum order.  priority postage on most orders in u.s is $3.
please include destination country when ordering.

a sound deal records and posters
image samples:

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end of ig-news-digest v1 #112

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